Mike Westbrook Performs Settings of Blake’s Poetry

The poetry of William Blake, with its searing commentaries on human greed, cruelty and other failings, has a particular resonance in these uncertain times. Toynbee Studios in Commercial Road in London’s East End last weekend were the appropriate setting for the latest manifestation of Mike Westbrook’s songs and musical settings of the poems of the 18th century London visionary. Westbrook’s basic group, featuring the leader on piano, Karen Street (accordion), Billy Thompson (violin) and Steve Berry (double bass) was augmented by the 40-strong London College of Music Chamber Choir, directed by Paul Ayers. At its core is Westbrook’s pared-down, hymn-like piano accompaniment and majestic introductions with Berry’s double bass playing a pivotal role. While Karen Street’s accordion and Billy Thompson’s violin provide effective instrumental colour in the arranged sections, their expressive improvisations raised the overall performance to fresh heights.

Mainstream Stalwarts Figure Strongly in British Jazz Awards

Low key but still around the British Jazz Awards, now in its 22nd year, has announced this year’s winners. Determinedly and doggedly retro in feel the winners included the late Humphrey Lyttelton who scooped CD of the year and reissue of the year while instrument category winners included some of the best known mainstream musicians in the land such as Martin Taylor, David Newton, Digby Fairweather, Dave Green, Art Themen, Alan Barnes, Mark Nightingale and Steve Brown. Surprises included Val Wiseman as singer of the year ahead of Clare Teal and Norma Winstone and the little known trumpeter Freddie Gavita as rising star, ahead of Kit Downes and Nathaniel Facey of Empirical.

Jay Phelps and Kit Downes Leave Empirical

Award-winning group Empirical, the toast of the UK jazz scene for the last year since the release of its eponymous debut album, has seen changes in its line-up with the departure of trumpeter Jay Phelps and pianist Kit Downes. The reasons for their departures remain unclear but they come at a time when the band has also changed its management and brought in new member, vibraphonist Lewis Wright.

Despite the Coughs and Photos Keith Jarrett Dazzles at Festival Hall

A ghostly stage with just a pair of lights shining on the piano surrounded by a sea of people, many of whom seemed hypnotised by the excitement of the occasion, was the setting for last night’s Royal Festival Hall Keith Jarrett concert. But far from it being a wake it turned into a joyous celebration of Jarrett’s music even if the concert had all the makings of a car crash. All it took was a few coughs: Jarrett sternly interrupted himself, to admonish the audience about their coughing, commenting gnomically that coughing indicated an implied boredom. Suitably told off the 3,000 people in the packed hall refrained from coughing for just a minute or two only resuming when Jarrett played more loudly! But a very annoyed Jarrett later began the second half ominously when someone took a quick photo of him. He told the person off and wearily soliloquised “what is it about this world that demands an image?”

While his announcements were bad tempered and even rude, even if at the end he thanked fans who had followed his career, the music was a marvel and at times inspirational. Starting with a requiem-like piece, Jarrett mixed and matched throughout, keeping the improvisations relatively short, very focused and often full of melodic and rhythmical invention. His darting bebop-flavoured runs, rhapsodic flourishes and gospel-tinged melodies had a spontaneity that was often engrossing, even if at times his foot stomping and orgasmic grunts were distracting. At the end the audience went wild and rivers of applause greeted Jarrett as he played four encores which included a lovely version of ‘My Song’ and an intricately lyrical version of ‘Over The Rainbow’. So all in all, a bit of a rollercoaster. Who said solo piano concerts were dull affairs? Stephen Graham

Julian Joseph and Gwilym Simcock for Yamaha jazz education scheme

Yamaha have launched a wide-ranging new jazz education initiative, The Jazz Experience, involving teacher-training, school activities and live events with major input from Julian Joseph, Gwilym Simcock, Tim Garland and jazz educator Richard Michael. The scheme is aimed at secondary school classroom and instrumental teachers and is designed to give them the skills to encourage and teach pupils to learn improvisation and help showcase the best of this emerging talent at festivals and venues including the Cheltenham Jazz Festival, Ronnie Scott’s and the 606 club. A series of regional one day improvisation work shops will be led by Joseph, Simcock, Garland and Michael with contributions form Peter Ind while additional name players will be announced for subsequent training and master classes. Yamaha’s Bill Martin says: “Our goal with the Jazz Experience is to inspire teachers and young musicians alike. Our workshop programme, hosted by world-class working jazz stars, will provide a unique opportunity for teachers with little or no experience of jazz and improvisation to learn much more in a highly creative environment. With a consensus in UK music education that we need to empower young people's personal creativity, I can't think think of a better or more exciting way to do this that by helping them develop improvising skills! ” Applications from interested music teachers from across the UK are now invited by Yamaha at www.yamahaeducation.co.uk and applicants must register by 31 January 2009 at the latest